Documenting the historical and contemporary sociocultural context of angkuoch.
The Cambodian angkuoch was once a staple of musical life in villages throughout the country. In recent decades, significant social and cultural shifts—combined with the loss of traditional culture during and following the Khmer Rouge genocide of the 1970s—have resulted in its decline. Now, fewer than 10 instrument-makers are believed to remain across Cambodia. Although highly endangered as both an instrument and performance practice, it is an important part of Cambodia’s cultural heritage.
In early 2020, Griffith University music researcher Catherine Grant collaborated with a team of Cambodian cultural experts to document the historical and contemporary sociocultural context of angkuoch.
Funded by the British Museum’s Endangered Material Knowledge Program with support from UNESCO (Cambodia), the project team produced the first in-depth documentation of making and playing angkuoch.
In addition to extensive video, audio, photographic, and textual documentation materials in Khmer and English, the project also created a documentary film, bilingual brochure, blog posts, radio interviews, print media, and a textbook entry, alongside scholarly outputs. All project materials are freely accessible in the British Museum's open access digital repository.
Among the impacts generated by the project, new evidence emerged about the likely provenance of the only angkuoch in the British Museum collection, donated in 1966 without attribution to the maker. Also identified was the likely site and circumstances of its production, as well as its probable maker, Mong Koeuy (d. 2012).
The British Museum has agreed to update its catalogue to include this information. This bears particular significance for Mong Koeuy’s family, who are gratified that his name is finally being given due recognition more than 50 years after the instrument came into the museum’s possession.
The project has also drawn the attention of national and international cultural agencies to the cultural significance and precarious situation of angkuoch as a folk tradition, including through print and broadcast media, seminars and workshops, scholarly outputs, and a documentary film.
The film, Angkuoch: Rediscovering the Cambodian Jew's Harp, has had over 21,000 views since its launch. The virtual launch event was attended by official representatives of UNESCO (Cambodia), the Royal Government of Cambodia Ministry of Culture and Fine Arts, and several other leading cultural agencies.
The angkuoch-makers and players who participated in the project also livestreamed into the event from laptops or mobile phones in remote villages, surrounded by community members of all generations. These participants reported pride that their traditional cultural knowledge and skills were now being recognised and promoted in Cambodia and internationally at the highest level.
Importantly, this recognition has sparked a greater interest in making and playing angkuoch. Recent expressions of interest to purchase instruments—from as far abroad as Switzerland—are encouraging makers to renew attention to angkuoch.
While COVID-19 has restricted the project team’s capacity to support angkuoch-related activities post-fieldwork, it is hoped this will soon be possible.
Arguably the most remarkable example of cultural revival initiated by this project is that of 79-year-old Bin Song, the only known living maker of the iron angkuoch. For this project, recognising the urgency and importance of documenting his cultural knowledge and skills, he made his first instrument since before the Khmer Rouge genocide of the 1970s.
Bin Song has gone on to make around half a dozen new angkuoch, including one now housed at the British Museum alongside another crafted for the project by bamboo-angkuoch maker Chi Monivong. He has sold at least two more. And—perhaps most significantly—another is in the pocket of Bin Song’s young grandson. Inspired by the recent attention given to angkuoch through the project, the youngster is learning to play, ensuring this irreplaceable piece of Cambodian culture continues to live on.
Dr Catherine Grant
Music educator and researcher at Queensland Conservatorium Griffith University